Fourteen children aged between 6 months and 7 years (mean age = 3.5 years) were treated by CO2 broncholaser in the ENT Department of Trousseau Hospital. Three groups of diagnostic indication were identified: 1. Granulomas treated after mucosal trauma (tracheotomy, foreign body). 2. Granulomas due to pulmonary and/or lymph node tuberculosis. 3. Adhesions and stenosis secondary to neonatal ventilation. The operative and anesthetic technique is described in detail, together with any possible adverse events. The CO2 broncholaser appears to be a technique of choice in this age group, in which the narrowness of the airways makes any endoscopic procedure difficult. The broncholaser allows the early treatment of obstructive tracheobronchial pathology with its risks of severe ventilatory sequelae.
Considerations of exoticism and particularly of orientalism in opera seem to focus, either explicitly or implicitly, on generalities – even when scholars have looked at only a few isolated works taken almost exclusively from ‘serious’ or ‘great’ repertories. However, in order to understand this complex phenomenon in its contemporary context, it is necessary to work from a knowledge of the extraordinary diversity of ‘exotic’ opera.
L’instrument de musique est abordé non pas isolément mais avec la musique dans laquelle il intervient et par laquelle il se réalise véritablement comme instrument de musique. Après des éléments de définition abordés en rayonnant autour de l’idée de Berlioz du « corps sonore utilisé par le compositeur », l’accent est mis sur le rôle de la pratique instrumentale et de la technique instrumentale. Sont décrites alors les diverses formes de l’identité de l’instrument (de l’identité-objet à l’identité-répertoire) puis ses potentialités (les éléments sonores précis qu’il doit permettre de produire, comme les possibilités nouvelles qu’il va offrir au cours de son histoire). The musical instrument is not to be seen in isolation from the music in which it intervenes but through which it exists as a musical instrument. Elements to define the musical instrument are put forward in relation to Berlioz's idea of "the body of sound used by the composer". The emphasis is then put on the part played by the technique and the practice of the instrument. The various forms constitutive of the identity of the instrument and its potentials are then described (the specific elements of sound that it has to produce as well as the new possibilities the instrument will open up in the course of its history.
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